Apple Final Cut Studio Spécifications Page 107
- Page / 116
- Table des matières
- MARQUE LIVRES
Noté. / 5. Basé sur avis des utilisateurs
• If you’re delivering your video master on an HDCAM SR or D-5 tape, you may be
requested to output all six discrete surround channels, plus stereo downmix channels,
onto the tape master itself. HDCAM SR supports 12 audio channels, and D-5 supports
8 channels.
• If you’re providing a Dolby E mix, distributors often ask for both stereo and surround
mixes output to the same videotape master, because most professional videotape
formats support at least four tracks of audio. For example, channels 1 and 2 would
contain stereo left and right, and channels 3 and 4 would contain a pair of Dolby
E–encoded surround tracks. A properly mixed surround mix can be downmixed easily
into a stereo mix.
Left/Center/Right
This option can serve as a “poor filmmaker’s surround mix.” With proper mixing, the
audible results of using three front channels (left, center, and right) can open up the
listener’s sound field and provide a more immersive experience than stereo, without the
extra work involved in creating a full-blown 5.1 surround mix. Using Compressor, you can
easily encode a left/center/right mix into a Dolby Digital audio file for DVD authoring. If
the three channels are properly mixed, you can use Final Cut Pro to downmix them into
a stereo mix for tape output, using the audio outputs that can be assigned in the Timeline.
For more information, see the Final Cut Pro documentation.
Alternative Audio Mixes for International Distribution
If you’re delivering a program for international distribution, there are several standard
audio mix deliverables that will probably be requested.
• Stems and music and effects mixes: Film distributors often require you to provide stems,
or dialogue, effects, and music submixes output to separate stereo pairs of tracks.
Television broadcasters usually ask for the original mix and a separate music and effects
(M & E) mix without dialogue. (One exception is that documentary programs often leave
the original interview dialogue in an M & E mix but omit voiceover.) For stereo or Dolby
E–encoded programs being output to videotape, the original mix is usually recorded
to audio tape channels 1 and 2, and the M & E mix is usually recorded to channels 3
and 4. These requests are to accommodate the overdubbing of dialogue into the native
language of distribution territories for which dubbing is the norm. Ask the distributor
or broadcaster how the various audio tracks should be mixed and organized, as delivery
specifications vary.
• Optional tracks: Some distributors also request optional tracks, to hold specific aural
elements such as nonverbal vocalizations by the original actors that an international
sound engineer may or may not want to use. Ask ahead for specific instructions, as
delivery specifications vary.
107Chapter 6 Mastering
- Final Cut Studio 1
- Contents 3
- 4 Contents 4
- Introduction 5
- Additional Resources 6
- 7Preface Introduction 7
- Developing a Post-Production 9
- Strategy 9
- Types of Overall Workflows 14
- Ingesting and Organizing Your 27
- Ingesting Tapeless Media 32
- Ingesting Tape-Based Media 33
- Ingesting Audio 41
- Integration During Editorial 49
- Development 49
- Logic Studio 59
- Client Review 61
- Local Review Methods 62
- Remote Review Methods 63
- 64 Chapter 4 Client Review 64
- Finishing 65
- What Is Finishing? 66
- 67Chapter 5 Finishing 67
- 68 Chapter 5 Finishing 68
- 69Chapter 5 Finishing 69
- 70 Chapter 5 Finishing 70
- 71Chapter 5 Finishing 71
- Reconforming Tapeless Media 72
- 73Chapter 5 Finishing 73
- Reconforming Tape-Based Media 74
- 75Chapter 5 Finishing 75
- 76 Chapter 5 Finishing 76
- 77Chapter 5 Finishing 77
- 78 Chapter 5 Finishing 78
- 79Chapter 5 Finishing 79
- 80 Chapter 5 Finishing 80
- 81Chapter 5 Finishing 81
- Color Correction 82
- 83Chapter 5 Finishing 83
- 84 Chapter 5 Finishing 84
- 85Chapter 5 Finishing 85
- Sending a Project to Color 86
- 87Chapter 5 Finishing 87
- 88 Chapter 5 Finishing 88
- 89Chapter 5 Finishing 89
- 90 Chapter 5 Finishing 90
- 91Chapter 5 Finishing 91
- 92 Chapter 5 Finishing 92
- 93Chapter 5 Finishing 93
- 94 Chapter 5 Finishing 94
- 95Chapter 5 Finishing 95
- 96 Chapter 5 Finishing 96
- Mastering 97
- 98 Chapter 6 Mastering 98
- Format Conversion 99
- 100 Chapter 6 Mastering 100
- Handling Closed Captioning 101
- 102 Chapter 6 Mastering 102
- Handling Subtitles 103
- 104 Chapter 6 Mastering 104
- Delivering Audio 105
- 106 Chapter 6 Mastering 106
- 107Chapter 6 Mastering 107
- 108 Chapter 6 Mastering 108
- Output and Delivery 109
- Creating Blu-ray Discs 111
- Exporting Movies for the Web 111
- Printing to Film 113
- Digital Cinema Mastering 114
- Doing a Negative Conform 115
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Supermicro 4021GA-62R+F manuales
Manuales del propietario y guías del usuario para Barebones Servidor Supermicro 4021GA-62R+F.
Ofrecemos 1 manuales en pdf Supermicro 4021GA-62R+F para descargar gratis por tipos de documentos: Manual de usuario
Supermicro 4021GA-62R+F Manual de usuario (116 paginas)
Marca: Supermicro | Categoria: Server barebones | Tamaño: 34.06 MB |
Tabla de contenidos
SUPER
1
Chapter 1
11
Introduction
11
WPCM450-R
15
Chapter 2
17
System Setup
17
Chapter 3
29
Chapter 4
33
Chapter 5
37
Chapter 6
75
Rear Fan
78
Release Tab
78
Chapter 7
91
IP Address
105
Subnet Mask
105
MAC Address
105
7-5 Boot Menu
106
7-6 Exit Menu
107
Appendix A
109
Appendix B
111
Appendix C
113
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